To appreciate calligraphy, we must first look at the overall situation and have a general impression of its expression and artistic style. Then pay attention to whether the pen, knot, composition, Mo Yun and other parts are lively and lively.
After the partial appreciation, we should stand at a distance to observe the overall situation, correct the "overall impression" obtained from the first viewing, and grasp it from a rational height again. Pay attention to whether artistic expression and artistic style are coordinated, where the works are wonderful and where there are shortcomings, and fully appreciate them from both macro and micro perspectives.
2. Restore the static image to the process of motion and expand the association.
Calligraphy works are relatively static as the result of creation. When appreciating, we should follow the author's creative process, adopt the method of "moving the line of sight", imagine the rhythm and strength of the pen and the different changes of the author's feelings in the creative process according to the order of the works, and restore the static image to the process of movement. That is to imitate the author's creative process and correctly grasp the author's creative intention and emotional changes.
3. From the image of calligraphy to the specific image, expand the association and correctly understand the artistic conception of the work.
In the process of calligraphy appreciation, we should fully develop the association, compare the calligraphy image with similar things in real life, and make the calligraphy image concrete. Then, starting from the aesthetic characteristics of things similar to calligraphy images, we further associate the aesthetic value of the works, so as to understand the artistic conception of the works.
Appreciating Yan Zhenqing's regular script, we can associate his calligraphy image with specific images such as "Jing Qing presses the sword, Fan Kuai holds the shield, King Kong dazzles, and Lux punches", from which we can draw the following conclusions: strong physique-masculine-full of heroic temperament-neat and inviolable characteristics, and Yan Zhenqing's regular script is linked with dignified and majestic artistic style.
4. Understand the creative background of the work and correctly grasp the emotional appeal of the work.
Any calligraphy work is the accumulation of a certain cultural history and the product of a specific historical and cultural background. Therefore, it is of great benefit to know the creative background (including the creative environment), the unique cultural atmosphere contained in the work, the author's personality cultivation, aesthetic taste, creative mood and creative purpose. In order to correctly understand the author's creative intention and correctly grasp the emotional appeal of the work.
In the Qing Dynasty, Wang Shu wrote in the inscription and postscript of "Virtual Boat Tang Yan Zhenqing to Uncle Haozhou": "The manuscript dedicated to Ji Ming was torn to pieces, and his book was frustrated and out of control. This "Gao" is calm, easy to make a guest appearance, and there is no strange promotion like "offering sacrifices to nephews". The so-called music-related party laugh has been sighed. Things are different, so is calligraphy. It should be reasonable. "
It can be seen that both the author's personality cultivation, creative mood and creative environment have a considerable impact on the mood of the work. In addition, calligraphy works are influenced by the book style and aesthetic fashion of a specific era, which makes calligraphy works reflect a diverse cultural atmosphere. This undoubtedly increases the difficulty of calligraphy appreciation, but also makes calligraphy appreciation interesting.
Extended data
A Native Analysis of Calligraphy Appreciation
1, the word method. The Chinese character method is the structural arrangement of Chinese characters, that is, it is an ideal Chinese character method to "draw dots to form Chinese characters" through the processing of violating harmony, orthography, density, increase and decrease, front and back, tightness, smoothness and avoidance. Calligraphers have always listed the structure of words as the most important factor in calligraphy skills. Because no matter how beautiful the composition is, it is only a matter of form. If the text structure is not good, it is difficult to call it a good work.
2. brushwork. Literally, it is a kind of brushwork. From the perspective of calligraphy appreciation, it should be to write standard stippling with the right pen. Stippling naturally changes with the style of the book. However, all the book reviews through the ages believe that "any pen (line or stippling) that can give people aesthetic feeling should be powerful". This power is called "brushwork" in traditional calligraphy.
Judging whether stippling has "pen power"-that is, the aesthetic conditions of calligraphy lines-is mainly based on "roundness" and "astringency". A circle is a three-dimensional concept, not a plane. The rounded lines are full and powerful, with a sense of relief, which can show the power of full and rounded power. The round line is the result of using the pen in the center, that is, the strokes written by the ancients that "make the pen heart move in stippling and make the pen heart emerge from stippling".
Let's talk about "astringency". It's not slippery or slippery. The pen for writing is an artistic effect that lines break through the resistance of paper and strive for progress. The pen tip encountered obstacles and resistance on paper, but the pen moved slowly. The more fully obstacles and counter-obstacles are displayed, the more lines can show their sense of strength.
"Round" and "astringent" are also intrinsically related. The circle is the pen used in the center, and the astringency also requires the nib to stand upright, artificially creating a contrarian astringency. The ancients said that "horizontal scales are vertical", which means that writing horizontal scales should produce certain resistance like scraping fish scales in turn; It is an advantage to write a portrait of riding a horse and struggling forward, but controlled by reins. Liu Xizai said: "If you want to do something, if you refuse, you will try your best to argue with it, and it will not be smooth if you take it by surprise." Such lines are not slippery or dull, but have a calm, dignified, vigorous and old-fashioned effect.
In addition, the rhythm of calligraphy lines is also one of the important conditions for evaluating and appreciating works. The rhythm of calligraphy lines, like the length and speed of notes in music, cannot be directly described. It is reflected in calligraphy, not only in the length and thickness of lines, but also in the speed of strokes. No matter what kind of writing style, raising the pen is not a "uniform" action, but the speed of raising the pen is adjusted according to the writer's mood and the requirements of the composition, so that the appreciator can be infected by the writer's mood from the work.
3. ink method. Ink painting is the skill of using ink. It is an important subject in the art form of calligraphy. "Scripts and pens are made of ink", "Meat is made of ink, and blood is made of water". Without the change and coordination of ink color, the effect of using a pen is difficult to achieve. Words lack flesh and blood and have no life. Therefore, Bao in Qing Dynasty said: "Calligraphy is based on pen and ink, and ink is a key to calligraphy." . Tang Sunguo Ting said, "If it is dry, it will dry up." He also pointed out the main points of using ink. Dry, moist, thick and dry are contradictory laws.
Don't use too dry ink, too many dry pens will dry; Don't have too much water, too much humidity will make you fat and muddy. In Du Fu's poems, it is said that "dripping ink" is an ideal ink. Even after many years, it seems that it has just been written, and its vitality is indelible. "If you don't use ink well, it is easy to dry up when it is thick, and it is nearly thin when it is light. They have been flooded and lifeless in a few years. "
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